{"id":43391,"date":"2014-08-18T14:58:01","date_gmt":"2014-08-18T17:58:01","guid":{"rendered":"https:\/\/galerialeme.com\/?post_type=expo&p=43391"},"modified":"2023-12-05T18:38:05","modified_gmt":"2023-12-05T18:38:05","slug":"taipa-tapume","status":"publish","type":"expo","link":"https:\/\/galerialeme.com\/en\/expo\/taipa-tapume\/","title":{"rendered":"Taipa -Tapume (curated by Tom\u00e1s Toledo)"},"content":{"rendered":"","protected":false},"featured_media":51377,"template":"","meta":{"_acf_changed":false,"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_uag_custom_page_level_css":"","footnotes":""},"expo_year":[76],"class_list":["post-43391","expo","type-expo","status-publish","has-post-thumbnail","hentry","expo_year-2014-en"],"acf":[],"spectra_custom_meta":{"_wpml_word_count":["{\"total\":0,\"to_translate\":{\"en\":2,\"pt-br\":2}}"],"_edit_lock":["1701801375:4"],"_edit_last":["4"],"leme_artist":["Alexandre Brand\u00e3o, Ana Mazzei, Beto Shwafaty, Baptistelli Bruno, F\u00e1bio Tremonte, Francesco Di Tillo, H\u00e9ctor Zamora, Jaime Lauriano, Lais Myrrha, Pablo Accinelli, Sandra Gamarra and Sandra Nakamura."],"_leme_artist":["field_6436bf3605737"],"expo_description":["TAIPA \u2013 TAPUME*\r\n\r\nCurated by Tom\u00e1s Toledo\r\n\r\nArtists: Alexandre Brand\u00e3o, Ana Mazzei, Beto Shwafaty, Baptistelli Bruno, F\u00e1bio Tremonte, Francesco Di Tillo, H\u00e9ctor Zamora, Jaime Lauriano, Lais Myrrha, Pablo Accinelli, Sandra Gamarra and Sandra Nakamura.\r\n\r\nThe group exhibition Taipa-Tapume intends to use the history of Galeria Leme\u2019s building \u2013 designed by Paulo Mendes da Rocha which was built, demolished and then rebuilt in another site \u2013 as a motto to investigate the process of urban development of the city of S\u00e3o Paulo, which is marked by cycles of construction, demolition and reconstruction, and the way the city handles its memory.\r\n\r\nBetween the 19th and the 20th century, S\u00e3o Paulo ceased to be a town with colonial features, made of mud, and of lesser importance in the national economic scene, to become a rich coffee-producing city and then an industrial, commercial and financial hub. These historical and urban moments were overlaid by urban development and shaped the city today.\r\n\r\nAs pointed out by the historian Benedito Lima de Toledo, in the book \u201cS\u00e3o Paulo \u2013 tr\u00eas cidades em um s\u00e9culo\u201d (S\u00e3o Paulo \u2013 three cities in a century), \u201cthe city of S\u00e3o Paulo is a palimpsest \u2013 a huge parchment whose deed is shaved from time to time to get a new one (\u2026).\u201d\r\n\r\nTo articulate these propositions, I take the example of P\u00e1tio do Col\u00e9gio, an archaeological site where the first edifice in the city of S\u00e3o Paulo was built in 1554, first in wattle and daub and then rammed earth. This building housed a Jesuit college and a church. With the expulsion of the Jesuits from Brazil in 1759, the site began to be used by the government as the seat of the provincial government of S\u00e3o Paulo until 1908. In this period the building that housed the school was demolished to make room for a neoclassical palace and the church suffered a landslide. In 1954, because of the celebrations of the fourth centenary of the city these buildings were completely demolished for the construction of a replica, made of reinforced concrete, replicating what they previously thought to be the original building of the college and the church.\r\n\r\nThis dynamic land occupation reveals the way in which S\u00e3o Paulo dealt and deals with its past and how it builds its historical narratives, showing the forces of power that shape the urban and social fabric of the city.\r\n\r\nGiven this historical period and this critical perspective, the exhibition is divided into four clusters of discussion: gallery Leme\u2019s building, processes of construction and deconstruction, urban and architectural development of S\u00e3o Paulo and finally, land speculation and construction techniques.\r\n\r\nIn the first group, the work \u201cUntitled\u201d by Jaime Lauriano \u2013 a double mirror sandwiched between two concrete blocks \u2013 reflects the viewer, inserting him into the virtual image that the mirrors produce from the gallery itself. Thus, the mirrors modify the apprehension of space, putting in question the relationship between the subject and architecture. Still following this investigation, the painting \u201cUntitled\u201d by Bruno Baptistelli presents a composition generated by architectural structural elements, creating an image that proposes a new spatial field, but in this case does not give the mirror image, but by a opaque surface.\r\n\r\nThe work \u201cAlgunos usos pr\u00e1cticos para el arte en desuso\u201d, from Sandra Gamarra, \u201cnarrativas cotidianas_Brasil01\u201d, from Bruno Baptistelli and \u201cSomething without thickness\u201d, from Sandra Nakamura, evoke the memory of the first building of the gallery, which was demolished, along with the whole urban block, to allow for the construction of a building which houses the headquarters of a construction company. Appropriating the physical aspects of the old building, Gamarra reproduces the concrete module used in the first building, which is\r\nslightly larger compared to the one on the current building. Baptistelli uses photographic language to reproduce the building of the construction company, presenting it in a typical framework of modernist photography, giving the scene a false sense of historical value. Nakamura also uses the slight difference in size between the two buildings as a motto for conducting a site-specific intervention. Using a transparent varnish, she marks the gallery\u2019s sidewalk revealing the size of the previous building, highlighting similarities and differences between the two buildings.\r\n\r\nThe second and third core, develop dialectically in order to articulate the processes of construction and deconstruction of urban fabrics \u2013 produced by continuous layers of the past, superimposed by the actions of the present \u2013 with the urban and architectural development of the city of S\u00e3o Paulo, marked by an indifference with the past and the aggressiveness of the housing market.\r\n\r\n\u201cBreve cronografia dos Desmanches\u201d, from Lais Myrrha, originally designed as a book and presented here in a wall version, is a compendium of images that show various categories of demolition, ruins, landslides and situations of abandonment. Each image is accompanied by an entry \u2013 sometimes in a fictional tone, sometimes documentary \u2013 and evoke the failure of ideological and political projects, the inability to preserve the physical traces of the past and the possibility of rewriting historical narratives.\r\n\r\nContinuing this investigation, \u201cMomentum # 3\u201d and \u201cMomentum # 4\u201d by Francesco Di Tillo \u2013 are photomontages that overlap postcards with scenes of post-war Europe with images of demolitions from regions of S\u00e3o Paulo, articulated in two layers of image, two temporal moments and two categories of ruin.\r\n\r\nDeveloped initially in book form, \u201cThe life of the centers,\u201d by Beto Shwafaty, is a photographic and documentary project that features three distinct moments of S\u00e3o Paulo with archival images and texts composed by memories and historical facts. The growth of the city is narrated from the displacement of the financial and commercial center from the central region and to Paulista Avenue e Berrini.\r\n\r\n\u201cGhost bricks\u201d, by Ana Mazzei, is a grouping of pieces of wood covered with layers of joss paper, a gold Chinese paper used in ceremonies to evoke the deceased ancestors. The symbolism of joss paper added to the configuration of the parts, which are arranged on the floor in order to emulate the aerial view of an urban fabric, suggests thinking about the layers, both constructive as historical, that make up a city.\r\n\r\nSandra Gamarra appropriates the fable \u201cThe Three Little Pigs\u201d to produce an illustrated book which adapts the original narrative to the context of S\u00e3o Paulo. The house of every one of the pigs symbolically represents three stages of social and urban development of the city, connecting fictional narrative to the historical narrative.\r\n\r\nIn a site-specifc sound installation, Bruno Baptistelli appropriates the audio of a part of a song, \u201cDa ponte pra c\u00e1\u201d (From the bridge to here), from the group Racionais MC\u2019s, which is triggered by the passage of the public through the walkway that connects the two blocks of Galeria Leme. The work establishes a metaphorical relationship between the two spaces of the building with the geographical positioning of Butant\u00e3, where the gallery is located. A walkway separates the offices from the storage, whereas the bridges over the Pinheiros River separates the expanded center from the peripheral areas of the city. The content of the song points to the geographic and social divisions of S\u00e3o Paulo.\r\n\r\nIn the works \u201cBrick 9 holes\u201d and \u201cPaulista, from the Circumference Series\u201d, H\u00e9ctor Zamora uses typical building materials from Brazilian construction techniques, which somehow resist the constant technological advances in the field of construction. In the first case, a composition of brick with cut corners; in the second case a circle with typical tiles from S\u00e3o Paulo.\r\n\r\n\u201cAdobe\u201d, by Alexandre Brand\u00e3o, is a set of pieces of unfired clay, molded into shapes of soap arranged on a wooden table. The format of the object approaches the appearance of bricks, some are presented intact, other corroded by water. This presentation gives the work an archaeological aspect and can be also read as remnants of a past washed by historical processes.\r\n\r\nThese three works, here presented in the architecture of reinforced concrete Paulo Mendes da Rocha, operate as a sign of the contradictions of S\u00e3o Paulo, a city in constant clash between his past and a present marked by a failed development project.\r\n\r\nThe fourth core, facing questioning of real estate speculation, proposes a contrast between the imagery created by property launches with the social and urban consequences they cause.\r\n\r\nBoth the series \u201cDel\u00edrio tropical (\u00e0 venda)\u201d (Tropical Delirium (for sale), by Fabio Tremonte, as in the video \u201cUntitled # 3 (the house),\u201d by Jaime Lauriano, the expectations created by the strategies of real estate sales are confronted with reality.\r\n\r\nIn the first case, advertising campaigns phrases are extracted and decontextualized from inserts of property launches and rewritten with watercolors on white sheets of paper. Devoid of advertising devices, logos and virtual models, the phrases lose their meaning and the sellers\u2019 strategies are revealed.\r\n\r\nIn the second case, images of the demolition of blocks in the region of Luz \u2013 the result of a controversial urban renewal project put in place by the government \u2013 are juxtaposed to the audio of television programs from property sales. This overlapping discourses can point us to the complex relationships between public capital investment in the shares of urban development of S\u00e3o Paulo and the interests of private capital.\r\n\r\nIn \u201cFuera de campo\u201d, a series of works by Pablo Accinelli, these relationships are evoked from the potential projection of the imagination that announcements of property sales in newspapers produce in the reader. The mere textual description of the number of rooms in an apartment is enough to imagine the features of the property, the light of the place and the life on it. This imagery construction is caused by the text, but it is what is outside of the text that provides the basis for a fictional elaboration. However, the viewer of the work does not have access to the texts of the ads because of the classified pages are reproduced by a technique of frottage, generating a whitish image, introducing the possibility of a new field of fictional construction.\r\n\r\nIf mud or clay (Taipa) ultimately, was the founder of the field of buildings S\u00e3o Paulo, Tapume, protective screens, tools and building materials were a constant.\r\n\r\nPavilion, by Jaime Lauriano, is a work composed by a flag embroidered screen, sustained and balanced by a nail with a hammer and plumb. This structure, made with building materials, is fixed in the exhibition space so that your weight over time, damage the wall that supports it. Introducing thus a contradiction between constructive and destructive intent, which appears as a constant in the urban development of S\u00e3o Paulo.\r\n\r\nThe works presented structure the nuclei and their possible associations, proposing relationships between the idea of building materials and construction, with the idea of building as conceptual elaboration. Thus, a critical field is created to confront the processes of formation of the urban landscape with the development of historical and fictional narratives about the city of S\u00e3o Paulo.\r\n\r\nAcknowledgements: Galeria Jaqueline Martins, Galeria Luisa Strina, Galeria Pilar, Luciana Brito Galeria, Manoel Macedo Galeria de Arte e Wu Galeria.\r\n\r\n* \u201cTaipa\u201d, is a vernacular construction technique based of clay (mud) and gravel used for the purpose of erecting a wall.\r\n\u201cTapume\u201d, temporary fence or cover usually used in construction sites."],"_expo_description":["field_64442aea60f9a"],"expo_catalog_expo_catalog_text":[""],"_expo_catalog_expo_catalog_text":["field_6447bb26033f7"],"expo_catalog_expo_catalog_file":[""],"_expo_catalog_expo_catalog_file":["field_6447bb3f033f8"],"expo_catalog":[""],"_expo_catalog":["field_6447bac1033f6"],"gallery":["a:17:{i:0;s:5:\"43392\";i:1;s:5:\"43394\";i:2;s:5:\"43396\";i:3;s:5:\"43398\";i:4;s:5:\"43400\";i:5;s:5:\"43402\";i:6;s:5:\"43404\";i:7;s:5:\"43406\";i:8;s:5:\"43408\";i:9;s:5:\"43410\";i:10;s:5:\"43412\";i:11;s:5:\"43414\";i:12;s:5:\"43416\";i:13;s:5:\"43418\";i:14;s:5:\"43420\";i:15;s:5:\"43422\";i:16;s:5:\"43424\";}"],"_gallery":["field_6436be9722a75"],"videos":[""],"_videos":["field_644491b47cb7e"],"leme_visit":[""],"_leme_visit":["field_6436bb780169e"],"text_expo":[""],"_text_expo":["field_6436bf9def280"],"files":[""],"_files":["field_64453629d51d1"],"leme_begin":["20140828"],"_leme_begin":["field_64442ce3d3a50"],"leme_end":["20141004"],"_leme_end":["field_64442d00d3a51"],"_wpml_media_duplicate":["1"],"_wpml_media_featured":["1"],"_thumbnail_id":["51377"],"_last_translation_edit_mode":["translation-editor"],"leme_artist_coletivo":["1"],"_leme_artist_coletivo":["field_649b22d81cddd"],"_uag_css_file_name":["uag-css-43391.css"],"_uag_page_assets":["a:9:{s:3:\"css\";s:263:\".uag-blocks-common-selector{z-index:var(--z-index-desktop) !important}@media (max-width: 976px){.uag-blocks-common-selector{z-index:var(--z-index-tablet) !important}}@media (max-width: 767px){.uag-blocks-common-selector{z-index:var(--z-index-mobile) !important}}\n\";s:2:\"js\";s:0:\"\";s:18:\"current_block_list\";a:7:{i:0;s:11:\"core\/search\";i:1;s:10:\"core\/group\";i:2;s:12:\"core\/heading\";i:3;s:17:\"core\/latest-posts\";i:4;s:20:\"core\/latest-comments\";i:5;s:13:\"core\/archives\";i:6;s:15:\"core\/categories\";}s:8:\"uag_flag\";b:0;s:11:\"uag_version\";s:10:\"1776444491\";s:6:\"gfonts\";a:0:{}s:10:\"gfonts_url\";s:0:\"\";s:12:\"gfonts_files\";a:0:{}s:14:\"uag_faq_layout\";b:0;}"],"_seopress_search_console_analysis_clicks":["2"],"_seopress_search_console_analysis_ctr":["0.014492753623188"],"_seopress_search_console_analysis_impressions":["138"],"_seopress_search_console_analysis_position":["11.471014492754"]},"uagb_featured_image_src":{"full":["https:\/\/galerialeme.com\/wp-content\/uploads\/2014\/08\/taipa-tapume-2021_mg_1128_72.jpg",1200,800,false],"thumbnail":["https:\/\/galerialeme.com\/wp-content\/uploads\/2014\/08\/taipa-tapume-2021_mg_1128_72-150x150.jpg",150,150,true],"medium":["https:\/\/galerialeme.com\/wp-content\/uploads\/2014\/08\/taipa-tapume-2021_mg_1128_72-300x200.jpg",300,200,true],"medium_large":["https:\/\/galerialeme.com\/wp-content\/uploads\/2014\/08\/taipa-tapume-2021_mg_1128_72-768x512.jpg",640,427,true],"large":["https:\/\/galerialeme.com\/wp-content\/uploads\/2014\/08\/taipa-tapume-2021_mg_1128_72-1024x683.jpg",640,427,true],"1536x1536":["https:\/\/galerialeme.com\/wp-content\/uploads\/2014\/08\/taipa-tapume-2021_mg_1128_72.jpg",1200,800,false],"2048x2048":["https:\/\/galerialeme.com\/wp-content\/uploads\/2014\/08\/taipa-tapume-2021_mg_1128_72.jpg",1200,800,false]},"uagb_author_info":{"display_name":"Cheyenne","author_link":"https:\/\/galerialeme.com\/en\/author\/"},"uagb_comment_info":0,"uagb_excerpt":null,"_links":{"self":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo\/43391","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo"}],"about":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/types\/expo"}],"version-history":[{"count":0,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo\/43391\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/media\/51377"}],"wp:attachment":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/media?parent=43391"}],"wp:term":[{"taxonomy":"expo_year","embeddable":true,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo_year?post=43391"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}